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Course Descriptions
ENCR - Creative Writing | ENEX - Expository Writing |
ENLT - Literature | ENT - English Teaching |
Archives: Spring 2005 | Fall 2005 | Spring 2006
Section 1-T-7:10-10:00p-Robert Stubblefield
In the course of this semester, we will explore the diversity of regional literature with an eye to its place in the larger literary traditions. Students will both read and hear works read aloud by some of Montana's leading authors, and will study both the craft and the content of their writings. Each meeting will showcase a regional poet or prose writer. Class meetings will open with discussion - a review of assigned readings and the critical, social, historical and/or political issues explored by the guest writer's work. Following a live reading, the writer will discuss his or her works with the class and answer questions. Students will prepare questions for the writers developed from a packet of readings and criticism. Grades are determined by attendance/participation, midterm and final examination.
The midterm and the final exam will require both short answer and longer essay responses to assigned reading, live readings and class l ecture. The final is not comprehensive. As they will in discussion, in exams the students will be asked to analyze the writers' works in ways that address the larger issues of regionality: What role does western literature in general, and Montana literature in particular, play in the field of modern American works? What role might genre fiction take in portraying the cultural or social issues of a city, a state, a region? How is this an important role? What literary elements make a work "regional" and what elements might be considered "universal"? Following the guest's presentation, students interested in creative writing will have an unparalleled opportunity to question working writers/published authors about their careers and the elements of their craft. Included in the roster will be writers who produce poetry, novels, short stories, regional essay, nonfiction, detective fiction and memoir.
Note: Because this course meets only once per week, attendance is important. Because our meetings will feature guest writers reading from
their own works, noise and disruptions, including your late arrival or early departure from class, will not be tolerated.
210A-3crs-Introduction to Creative Writing: Fiction
Section 1-MWF-12:10-1:00p-Robert Stubblefield (Consent of FIG Dir. Required)
Section 2-TR-2:10-3:30a-Kate Gadbow (Open to ENGL/PREN majors only)
Section 3-TR-9:40-11:00p-Staff
Section 4-TR-11:10-12:30p-Staff
An introductory writing workshop focused on the reading, discussion, and revision of students' short fiction. Students will also be introduced o models of fiction techniques. No prior experience in writing short fiction required.
211A-3crs-Introduction to Creative Writing: Poetry
Section 1-MWF-11:10-12:00a-Staff
Section 2-TR-12:40-2:00p-Staff (Open to ENGL/PREN majors only)
An introductory writing workshop focused on the reading, discussion, and revision of students' poems. Students also will be introduced to models of poetic techniques. No prior experience in writing poetry required.
310A-3crs-Creative Writing: Fiction (Consent of instructor required)
Section 1-TR-2:10-3:30p-Deirdre McNamer
Section 2-TR-3:40-5:00p-Debra Earling
This is a fiction-writing course for upper-level undergraduates, and admission is on the basis of a writing sample submitted to the instructor. Students will write two stories and revise both of them. Both of the stories and one revision will be discussed in class. Class participants will also prepare written critiques of the work discussed. Exercises will address technical aspects of writing fiction. Outside reading will be required.
311-3crs-Creative Writing: Poetry (Consent of instructor required)
Section 1-TR-12:40-2:00p-Greg Pape
This is an intermediate poetry workshop involving critical analysis of student work, as well as reading and discussion of poems by established poets. On a weekly basis, we will examine students' poems and the practical issues in poetics (descriptive language, syntax, diction, etc.) they bring to light. Be prepared to do imitations; some memorization may also be required.
312-3crs-Creative Writing: Non-fiction (Consent of instructor required)
Section 1-TR-2:10-3:30p-Judy Blunt
Introduction to various forms of non-fiction writing, including memoir, interactive journalism, travel and nature writing, personal and lyrical essay. Students will read a wide variety of non-fiction prose and complete six creative writing assignments. Selected essays will be presented for workshops. Students applying for this course must submit a writing sample to the instructor and obtain consent. Text required.
390-1-3crs-Supervised Internship (Arr., Consent of instructor required)
398-1-12crs-Coop Educ Experience (Consent of instructor required)
Section 1-M-8:10-9:00a-Kate Gadbow
410-3crs-Advanced Creative Writing: Fiction (Consent of instructor required)
Section 1-T-3:40-6:30p-Kevin Canty
Section 2-TR-12:40-2:00p-Debra Earling
An advanced writing workshop in which student manuscripts are read and criticized. Rewriting of work already begun (in ENCR 310 classes) will be encouraged.
411-3crs-Advanced Creative Writing: Poetry (Consent of instructor required)
Section 1-T-3:40-6:30p-Joanna Klink
This is an intermediate poetry workshop involving critical analysis of student work as well as reading and discussion of poems by established poets. On a weekly basis, we will examine students' poems and the practical issues in poetics (descriptive language, syntax, diction, etc.) they bring to light. Revision will be central to the class; some memorization may be required.
496-1-3crs-Independent Study (Consent of instructor and department chair required)
510-3crs-Fiction Workshop (Consent of instructor required)
Section 1-T-3:40-6:30p-Charles D'Ambrosio (Kittredge Visiting Writer)
This is a fiction-writing workshop for MFA graduate students, with primary emphasis on the short story. We will devote considerable attention to the process of revision. Participants will contribute written critiques of the work discussed in class.
Section 2-W-7:10-10:00p-Kevin Canty
Students will read and write short stories, engage in discussions about craft, and subject themselves to a few experimental exercises.
511-3crs-Poetry Workshop (Consent of instructor required)
Section 1-W-12:10-3:00p-Joanna Klink
Section 2-T-3:40-6:30p-Greg Page
This is an advanced workshop devoted to critical analysis and revision of poems. We will discuss student work in light of central problems in poetics, with particular emphasis on the relationship between voice (evidence of human presence) and description (evidence of world). Limited to graduate students in the M.F.A. program.
512-3crs-Nonfiction Workshop (Consent of instructor required)
Section 1-W-6:10-9:00p-Judy Blunt
A creative writing workshop focused primarily on the personal essay. Attention given to writing and publishing professional magazine essays. Students complete two substantial essays.
514-3crs-Prose Techniques: The Writer's Voice (Consent of instructor required)
Section 1-R-3:40-6:30p-Deirdre McNamer
Someone speaks. Who is it? The person who sets down the words? The writer as she or he wishes to be? A temporary stand-in for the writer? A mimic of other writers? An actor? An imposter? A ghost?
Choosing a voice (consciously or unconsciouly) is arguably a writer's key decision. In this course we will investigate a range of voices in works of fiction and nonfiction. We will discuss how those particular voices serve the writer's material; how a voice can change within a single work; how the characteristics of a voice (diction, geniality, formality, authority, confusion) invite varying kinds of responses to a story or account.
The class will consist of close readings of selected works (see below); written analyses that focus on voice; in-class imitations and experiments; lively discussion. Class participants will read a book a week (or shorter materials I will place on reserve in the library) and write a three-page response to that work. In a final paper, students will take finished work of their own and write it in a different voice or voices.
Please buy and read the following paperbacks in the editions specified. Other works, including nonfiction, will be placed on reserve: The Great Gatsby, F. Scott Fitzgerald (Scribner, 2004); The Last Good Kiss, James Crumley (Vintage Crime/Black Lizard, 1988); Open Secrets, Alice Munro (Vintage Contemporaries, 1995; Poachers, Tom Franklin (HarperPerennial, 2000); Pride and Prejudice, Jane Austen (Bantam Classics, 1983); Affinity, Sarah Waters (Riverhead Trade, 2002); The Things They Carried, Tim O'Brien (Broadway reprint, 1998); In Cold Blood, Truman Capote (Vintage reprint, 1994); On Beauty, Zadie Smith (Penguin, 2005: hardcover, but a paperback should be out soon); Howard's End, E.M. Forster (Penguin 20th Century Classics, 2000; Love Medicine, Louise Erdrich (Perennial Classics, 2005).
516-3crs-Topics in Creative Writing (Consent of instructor required)
Section 1-W-3:10-6:00p-Charles D'Ambrosio (Kittredge Visiting Writer)
Over the past forty or so years writers of creative non-fiction have learned a lot from the narratives of novelists and short story writers. They've also taken some of our audience with them, it seems, and so maybe it's time we "fiction writers of the world" take a good hard look at the things they do and see what we can learn (and steal back) for our own work. We'll cover some of the history of creative non-fiction and examine individual works, discussing their strengths and limitations, all with an eye toward appropriating the best qualities of non-fiction for our short stories and novels. I'll provide most of the material, but we'll read personal essays, memoirs, gonzo and new journalism, chapters from longer narratives about childhood, crime, politics, war, literary life and ranching. My idea of a graduate seminar is that the students are the teachers, and I will expect each member of the seminar to research a topic and conduct a class, lecturing briefly and then leading the discussion. The class will work like a think tank and there won't be any papers but near-perfect attendance and regular, enthusiastic participation are required.
596-1-9crs-Graduate Independent Study - Teaching Creative Writing (Consent of instructor and graduate chair required)
Section 1-Kevin Canty (by appointment)
Section 2-Greg Page (by appointment)
599-1-12crs-Thesis-ARRANGE-Staff
NOTE: During the autumn semester, ENEX 101 is restricted to students whose last name begins with the letters A-L. During the spring semester, ENEX 101 is restricted to students whose last name begins with the letters M-Z.
100-2crs-Basic Composition (Prereq,, minus score on Writing Placement Exam or referral by ENEX 101 instructor.)
For students with major difficulties in expository prose. Emphasis on forming, structuring, and development of ideas; tutorial emphasis on mechanics in special class hour to be arranged with instructor. Grading A,B,C,D,F, or NCR (no credit).
Section 1-TR-9:10-10:00a-Staff
Section 2-TR-8:40-9:30a-Staff
Section 3-TR-8:10-9:00a-Staff
Section 4-TR-2:10-3:00p-Staff
Section 5-TR-8:10-9:00a-Staff
Section 6-TR-11:10-12:00p-Staff
Section 7-TR-11:10-12:00p-Staff
Section 8-TR-11:10-12:00p-Staff (FIG section)
Section 9-TR-12:10-1:00p-Staff (FIG section)
Section 10-TR-12:10-1:00p-Staff (FIG section)
Section 11-TR-3:10-4:00p-Staff
Section 12-TR-1:10-2:00p-Staff (FIG section)
Section 13-TR-1:10-2:00p-Staff (FIG section)
Section 14-TR-1:10-2:00p-Staff
Section 15-TR-9:10-10:00p-Staff
Section 16-TR-2:10-3:00p-Staff (FIG section)
Section 17-TR-7:10-8:00p-Staff
Section 18-TR-4:10-5:00p-Staff
Section 19-TR-10:10-11:00a-Staff
Section 20-MW-12:10-1:00p-Staff
Section 21-MW-2:10-3:00p-Staff
101-3crs-English Composition (Prereq., ENEX 100, or proof of passing score on Writing Placement Exam, or referral by ENEX 100 instructor.)
Expository prose and research paper; emphasis on structure, argument, development of ideas, clarity, style, and diction. Students expected to write without major faults in grammar or usage. Credit not allowed for both ENEX 101 and COM 101. Grading A,B,C,D,F, or NCR (no credit).
Section 1-MWF-8:10-9:00a-Staff
Section 2-MWF-9:10-10:00a-Staff
Section 3-MWF-9:10-10:00a-Staff
Section 4-MWF-10:10-11:00a-Staff
Section 5-MWF-10:10-11:00a-Staff
Section 6-MWF-10:10-11:00a-Staff
Section 7-MWF-10:10-11:00a-Staff
Section 8-MWF-11:10-12:00p-Staff
Section 9-MWF-11:10-12:00p-Staff
Section 10-MWF-12:10-1:00p-Staff
Section 11-MWF-12:10-1:00p-Staff
Section 12-MWF-1:10-2:00p-Staff
Section 13-MWF-1:10-2:00p-Staff
Section 14-MWF-1:10-2:00p-Staff
Section 15-MWF-1:10-2:00p-Staff
Section 16-MWF-2:10-3:00p-Staff
Section 17-MWF-2:10-3:00p-Staff
Section 18-MWF-2:10-3:00p-Staff
Section 19-TR-7:10-8:30p-Staff
Section 20-TR-8:10-9:30a-Staff
Section 21-MWF-1:10-2:00p-Staff
Section 22-TR-12:40-2:00p-Staff
Section 23-TR-11:10-12:30p-Staff
Section 24-TR-11:10-12:30p-Staff
Section 25-TR-3:40-5:00p-Staff
Section 26-TR-12:40-2:00p-Staff
Section 27-TR-2:10-3:30p-Staff
Section 28-TR-2:10-3:30p-Staff
Section 29-MWF-9:10-10:00a-Staff
Section 30-MWF-10:10-11:00a-Staff
Section 31-MWF-11:10-12:00p-Staff
Section 32-MWF-12:10-1:00p-Staff
Section 33-TR-3:40-5:00p-Staff
Section 34-TR-12:40-2:00p-Staff
Section 35-MWF-12:10-1:00p-Staff
Section 36-MWF-9:10-10:00a-Staff
Section 80-MWF-9:10-10:00a-Staff (HONORS, consent of Davidson Honors College required)
Section 81-MWF-12:10-1:00p-Stewart Justman (HONORS consent of Davidson Honors College required
Section 85-MWF-11:10-12:00p-Staff (HONORS FIG section, consent of Davidson Honors College required
Section 86-MWF-9:10-10:00a-Staff (HONORS FIG section, consent of Davidson Honores College required
Section 99-Arrange-Mary Kriley (Consent of FIG Dir. required)
195-3crs-Advanced Composition (Prereq., ENEX 101, Lower-Division Writing Course)
Section 1-Art of the Essay-MWF-11:10-12:30p-Kathleen Ryan
Section 2-Humanities-MWF-10:10-11:00a-Robert Stubblefield
Section 3-Social Sciences-TR-9:40-11:00a-Staff
Section 4-Business & Economics-TF-12:40-2:00p-Staff
Section 5-Natural Sciences-MWF-9:10-10:00a-Joseph Campana
Section 6-Health & Society-MWF-2:10-3:00p-Amy Ratto-Parks
496-1-3crs-Independent Study (Consent of instructor-class level Jr./Sr.)
Section 1-M-8:10-9:00a-Kathleen Ryan
540-1cr-Teaching College Level Composition (Restricted to ENEX 100/101 TAs)
Section 1-M-3:10-5:00p-Kate Ryan
Section 2-M-3:10-5:00p-Eric Reimer
Section 3-M-3:10-5:00p-Joseph Campana
120L-3crs-Introduction to Critical Interpretation (Writing course for Lower Division)
Section 1-MWF-12:10-1:00p-Staff
Section 2-MWF-3:10-4:00p-Staff
Study of how readers make meaning of texts and how texts influence readers. Emphasis on interpreting literary texts: close reading, critical analysis and effective writing.
121L-3crs-Introduction to Poetry (Writing course for Lower Division)
Section 1-MWF-10:10-11:00a-Staff
Section 2-MWF-8:10-9:00a-Staff
An introduction to the techniques of reading and writing about poetry with emphasis on the lyric and other shorter forms.
222L-3crs-British Literature Through the 18th Century
Section 1-MWF-10:10-11:00a- J. Browning (OPEN TO ENGL/PREN MAJORS ONLY)
Section 2-MWF 12:10-1:00p-J. Browning
This course is a survey of works composed during the first millennium of English literary history. Beginning with Beowulf, which dates back to as early as the eighth century, we shall read our way through a selection of literature representing the Middle Ages, the Renaissance (or early modern period, as we will sometimes consider this and the following two periods), the Restoration, and the eighteenth century. An important aim of the course will be to learn how the authors we read respond to or engage with the salient political, ecclesiastical, economic, and social conditions of their own times. Intrinsic to this project will be our study of the defining features of different literary genres (epic, lyric, discursive prose, drama, and novel) and modes (heroic, tragic, comedic, satiric, pastoral, and romance), and how authors used, adapted, or outright challenged these conventions.
Section 80-HONORS-TR 12:40-2:00p-Ashby Kinch (Consent of Honors College req.)
This survey intends to provide students with a historical, cultural, linguistic and intellectual framework for understanding the literature produced in Britain between the 8th century, when Anglo-Saxon culture produced its first major literary texts, and the 18th century, when citizens of a modern British state published texts in a wide range of literary genres for a rapidly- expanding public readership. To address such a wide cultural span in such a short space of time-just under a century per week, on average-is a Herculean task. But this kind of survey creates an invaluable context for your future reading, which will augment, amplify, and complicate the narrative of this class. There will be three parts to this course, with an exam following each: the Middle Ages, the Renaissance and Early Modern Period (16th and early 17th centuries), and the Restoration (18th Century). The course will introduce you to specific literary and cultural problems, which you will then address in greater detail in class discussion, group dis- cussion, exams, and short writing assignments. Students will be expected to: master some basic vocabulary for literary analysis (the Department's list of literary terms, drawn from The Bedford Glossary); develop their skills in close reading of poetry, and read both broadly and deeply in the history of British literature. You will be introduced to major conceptual and theoretical problems that you will develop further in your undergraduate career: the interpretive impact of historical and cultural context on reading literature, the role of national identity in the formation of a literary canon, and the role of gender relations in the production and interpretation of literary texts.Texts:The Norton Anthology of English Literature (Vol. 1, 8th Edition); Murfin, Ross and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms (Bedford, 1997).
223L-3crs-British Literature in the 19th and 20th Centuries (Writing course for Lower Division)
Section 1-MWF-2:10-3:00p-Michael McClintock (OPEN TO ENGL/PREN MAJORS ONLY)
Section 2-MWF-9:10-10:00a-Michael McClintock
If we restrict "British literature" to things written (mostly) in the British Isles and (mostly) in some form of English, its history begins about thirteen centuries ago and hasn't reached an ending yet. Our main text, hefty as it is, presents only half of a selection from a selection, not even close to one per cent of all we might choose from. And we won't be reading even a fifth of the Norton. What can one semester mine from such riches? We extract a kind of chronological scan; not a slice or cross- section, not a representative sample, but a kind of compressed inspection that, despite its brevity, will offer a fair sense of some important matters in the literature ancestral to American and the history that leads to-among other things-us. One revisable paper, one preliminary examination, one final examination; attendance recorded and excessive absences penalized.
Texts: Abrams, et al., eds., The Norton Anthology of English Literature (Vol. 2, 8th ed.); For English majors, minors, and pre-majors: Murfin and Ray, The Bedford Glossary of Critical and Literary Terms; Hacker, A Pocket Style Manual.
Section 80--HONORS-MWF-9:10-10:00a-John Glendening (Consent of Honors College req.)
The goal of this course is to familiarize students with the history of British literature (authors, works, periods, and trends) from 1800 to WWI, helping them to place texts within their cultural and literary contexts and to comprehend, in general, the relationship between British literature and the shaping of the modern world. Students should gain understanding of relevant cultural issues (literacy, urbanism, class structure, capitalism, science, technology, religion, imperialism, and gender) of important literary movements (romanticism, realism, naturalism, aestheticism, and modernism); and of terms and concepts important for understanding literature. Midterm and final examinations will be given and three critical essays required. Most readings will be from an anthology, but the class will also read one or two novels.
224L-3crs-American Literature to 1865 (Writing course for Lower Division)
Section 1-TR-8:10-9:30a-David Moore (OPEN TO ENGL/PREN MAJORS ONLY)
Section 2-TR-3:40-5:00p-David Moore
Section 3-MWF 2:10-3:00p-Staff
In this course, we will study significant literary texts from the early part of our nation's history. We will examine the way this literature has shaped and been shaped by some of the important historical events and ideological forces in U.S. history, such as Calvinism, slavery and abolition, the development of a national identity, westward expansion, the industrial revolution, and the "woman question." Since literary history is an interaction between the dominant ideas of a given time period and the individuals who grapple with those ideas, we will seek to discover the extent to which the work we read challenges or endorses existing ideals. Guiding our inquiries this semester will be the investigation of the development of an American cultural identity and the role of literature in that development. How have writers conceived of the notion of "American," and what traits or ideals do they associate with that classification? To whom has that title been available? Although we will explore texts within their historical, political, and literary contexts, our analysis will depend upon close engagement with the texts themselves. Therefore we'll also spend significant time developing close reading skills.
Texts: Baym, The Norton Anthology of American Literature (6th Ed., Vols. A and B); Foster, The Coquette; Murfin and Ray, The Bedford Glossary of Critical and Literary Terms; Hacker, A Pocket Style Manual.
225L-3crs-American Literature Since 1865 (Writing course for Lower Division)
Section 1-TR-11:10-12:30p-Lynn Itagaki (OPEN TO ENGL/PREN MAJORS ONLY)
Section 2-TR-8:10-9:30a-Lynn Itagaki
This course will examine a broad spectrum of important literary texts by U.S. writers after 1865. We will look at how these novelists, poets, playwrights, and essayists use literature to reflect and rework their contemporary historical and literary contexts. The course introduces students to reading the principal forms of literature (poetry, prose, fiction, and drama) analytically. Strengthening knowledge of literary interpretation and analysis, this course will encourage students to examine what writers convey through their fictional works and how to analyze the ramifications and influence of these literary texts on their critical thinking.
Section 3-MWF-11:10-12:00p-Brady Harrison (FIG Section)
English 225 explores a limited number of extraordinary American poems, stories, and novels published after the Civil War. We'll situate the texts in their cultural, historical, and especially literary context, and explore movements such as realism, regionalism, naturalism, modernism, and postmodernism. The course will also involve an introduction to basic literary terms and concepts, and we'll work on the close reading and interpretation of literary texts. Authors likely to be studied include Kate Chopin, Charlotte Perkins Gilman, Sherwood Anderson, Ezra Pound, T. S. Eliot, Gertrude Stein, Langston Hughes, D'Arcy McNickle, Sandra Cisneros, Bharti Mukherjee, Thomas Pynchon, and others.
Texts (subject to revision): Lauter, Paul (ed), The Heath Anthology of American Literature (Vol. 2); Welch, James, Winter in the Blood.
301-3crs-Applied Literary Criticism (Prereq or coreq: 12 credits of lower-division ENLT courses. Writing course for Upper Division -- NOT OPEN TO PREN MAJORS)
Section 1-MWF-9:10-10:00a-Eric Reimer
This course serves as a rigorous introduction to the critical "schools" and movements that have most influenced contemporary literary studies. In the hope of demystifying "high theory," we will both read seminal works of literary theory and test their merits and analytical methods by applying them to various texts. As you develop a working understanding of critical theory and practice, you will become attuned to issues of gender, race, class, ideology, ethnicity, power, language, textuality, and canonicity, and to the ways in which these issues are shaping the field of literary studies. Our theoretical texts will be drawn from the Patricia Waugh/Philip Rice anthology, Modern Literary Theory: A Reader. The balance of the reading list will include some of the following: Oscar Wilde's The Picture of Dorian Gray, Nadine Gordimer's July's People, Jackie Kay's Trumpet, Michelle Cliff's No Telephone to Heaven, Salman Rushdie's Haroun and the Sea of Stories, and Michael Ondaatje's The English Patient, as well as some shorter fiction and some poetry selections.
Section 2-MWF-10:10-11:00a-Kathleen Kane
Section 3-MWF-11:10-12:00p-Kathleen Kane
In this introductory course in literary and cultural theory, we will attempt to explore representative schools of and issues in contemporary criticism. We will be working, therefore, to build an analytic and critical vocabulary for the activity of reading a variety of texts from the canons of literary criticism. However, in addition to this "first-principles" objective, we will also attempt to engage with such complexities of current theoretical debate as "the question of the author," the reconciliation of form and content, the agon of canon formation and canon busting, and, finally, with the crucial issues of race, class, gender, and sexuality. Throughout the course, we will be moving toward our current early twenty-first century moment in which the range and scope of the labor of the literacy critic seems - in light of the rise of a host of non-traditional representa- tional and narrative forms- to be both expanding and contracting. The course will also involve a practicum involving consideration of the variously incarnated cultural text of Frankenstein: Mary Shelley's novel, James Whale's films, Blade Runner's monsters, and other contemporary avatars. Required Texts: Richter, David. Falling Into Theory: Conflicting Views on Reading Literature; Shelley, Mary. Frankenstein (ed. Hunter); Culler, Jonathan. A Very Short Introduction to Literary Theory; Whale, James. Frankenstein (VHS); Brooks, Mel. Young Frankenstein (VHS); Scott, Ridley. Blade Runner (VHS); Condon, Bill. Gods and Monsters (VHS).
320-3crs-Shakespeare (Prereq: ENLT 301 or Consent of Instructor. Writing Course for Upper Division) (NOT OPEN TO PREN MAJORS)
Section 1-MWF-9:10-10:00a-Casey Charles
A comedy, a history, a tragedy, a problem play, and a romance. A survey of selected Shakespeare plays emphasizing close reading of the texts and consideration of their dramatic possibilities.
322-3crs-Romantic Tradition/HONORS (Consent of Instructor)
Section 80-HONORS (Consent of Honors College)--(Writing Course for Upper Division)--TR 11:10-12:30p-Robert Pack
Study of influences on and innovations in the works of various authors within a particular literary historical period in England or America.
323-3crs-Ethnic-American Literature (Writing course for Upper Division)
(Prereq. ENLT 301 or Consent of Instructor)-(NOT OPEN TO MAJORS IN PREN)
Section 1-W-2:10-5:00p-Lynn Itagaki
This course examines a range of ethnic American literary texts since the late nineteenth century. We will examine the central debates in contemporary American literary studies: media images and stereotypes, generational conflict, race and class, diasporic and transnational, and gender and sexuality. The course is geared toward placing the texts in their historical contexts and identifying how these creative productions reflect the minority communities they portray.
325-3crs-The Bible as Literature (Prereq., nine credits in ENLT or consent of instructor - Upper Division writing course)
Section 1-TR 12:40-2:00p-Robert Baker
In this course, we will study the Christian Bible as a work of literature. This will require, among other things, that we study the way the Christian Bible was formed through a re-ordering of, and an adding of new texts to, an older collection of sacred Hebrew texts known in their original order as the Hebrew Bible or the Jewish Bible. We will not devote our time in this course to "I do or don't believe" debates regarding what the Bible has to say about God, the universe, humankind, language, morality, history, or any number of other matters. We will concentrate, rather, on what it would mean to inhabit the different understandings or perspectives that the writers of the Bible develop concerning these matters: perspectives that are themselves as various and contradictory as the ways in which different people throughout history have inhabited, revised, contested, or in some fashion engaged them. We will make an effort to clarify just what these perspectives are. Our approach, in other words, will be guided by the methods of contemporary religious studies and the methods of contemporary literary hermeneutics. We will variously turn our attention to the historical composition of the Jewish and the Christian texts, to a range of stories presented in these texts, and to the larger mythic and figurative patterns at work in the Bible as a whole. Required Texts: Tanakh: The Holy Scriptures; The New Oxford Annotated Bible; Richard Elliott Friedman, Who Wrote the Bible?; Northrop Frye, The Great Code: The Bible and Literature.
329-3crs-Native American Literature (Same as NAS 329.1)
Section 1-TR 8:10-9:30a-Angelica Lawson
350--3crs-Chaucer (Prereq. ENLT 301 or consent of instructor - NOT OPEN TO PREN MAJORS)
Section 1-TR-9:40-11:00a-Ashby Kinch
As spy, soldier, diplomat, tax officer, minister of the King's works, and Member of Parliament, Chaucer accumulated an incredible breadth and diversity of social experience, which he shaped into one of the great works of social imagination: The Canterbury Tales. These diverse identities relate directly to Chaucer's principal attributes as a poet: his famously capacious intellect, his linguistic complexity, his ear for dialect, and his interest in the shared anxieties that simultaneously draw us together and pull us apart. This course will explore the cultural context from which Chaucer emerged to define a new English literary voice in a work that simultaneously synthesizes the major genres of medieval literature that influenced this capacious intellect and announces a new beginning. First, we will become comfortable with Chaucer's Middle English through a close reading of the General Prologue to The Canterbury Tales. As we do so, we will navigate the available sources of information about Chaucer's life, allowing students to come to their own conclusions about Chaucer's "character," before we tackle selected Canterbury Tales. The course will require students to read, translate and comment on Chaucer's poetry in Middle English in weekly writing assignments, as well as to complete an exam and a research paper.
355-3crs-British Romanticism (Prereq: ENLT 301 or consent of instructor. Writing course-Upper Division)
Section 1-TR 12:40-2:00p-Louise Economides
Introduction to the major texts, themes, and authors writing in England from 1790-1815, with primary focus on William Blake and William Wordsworth.
370-3crs-Science Fiction (Prereq. ENLT 301 or consent of instructor - NOT OPEN TO MAJORS IN PREN)
Section 1-MWF-11:10-12:00p-Michael McClintock
From its tangled roots (Frankenstein and Poe, for instance) to its weedy contemporary flourishing (Star Wars and Star Trek, for instance-but seldom, if ever, Stephen King), science fiction has been edgy, usually marginal, and often uncomfortable (for its non-readers even more than for its readers). Its irregular popularity has arisen at times when enough people have been sufficiently charmed by its characteristic special effects to miss - or to misunderstand - most of what, as a genre, it says. In this course, we shall do our best to see it as, at its best, it has always tried to see the universe: as it is. By the conclusion of the course, you should have an understanding of the characteristic narrative features of science fiction, a sense of its relationships to history as well as to science, and, of course, an enhanced ability to discuss it cogently. Two or three in-class essays and a final examination; attendance recorded. Texts: To be announced but will include at least four novels as well as a large number of short stories (the stories will be made available on e-reserve)
371-3crs-Literature and Environment (Prereq: ENLT 224 or 225 and ENLT 301 or consent of instructor. Writing course-Upper Division.)
Section 80-- (HONORS)-TR 9:40-11:00a--David Moore
If a "sense of place" drives literature as the "environment" drives and surrounds experience, how does literary study attend to that environment in a text? How would an ecological approach to literature change the way it is written or read? How would ecological scientific insight about the "nature" of humanity and the rest of the animate and inanimate world change literary study? Literary attention to the environment of a story filters through some of the same lenses through which more common narrative elements such as character, plot, and setting are represented. For instance, those lenses include gender, in the feminization of the land. They include race, in the identification of the wilderness with Natives. They include class, in the politics and cultural values of land ownership. We can understand stories on the land partly in terms of such lenses. How we represent the land can be as much a projection of our own "nature" as a reflection of nature and the environment, so we might explore those projections as we read the land and its stories. We might explore different representations of the land from writers of different genders and ethnicities. If we begin to look at our representations of nature and of ourselves from an environmental or ecological perspective, we begin to see new dynamics in the text.
Following on these questions, the course takes an historical approach to American representations of nature. A tentative list of readings might include selections from the following writers: R. W Emerson, RWE: Selected Essays, Lectures, and Poems ("Nature" and "Thoreau") ; Henry David Thoreau, Walden & other writings ("A Week on the Concord & Merrimac Rivers," "Walking," and "Maine); Clarence King, Mountaineering in the Sierra Nevada; John Muir, Thousand-Mile Walk to the Gulf (in Gottlieb); Aldo Leopold, A Sand County Almanac; Jack Kerouac, Dharma Bums; Annie Dillard, Pilgrim at Tinker Creek; Leslie Silko, Ceremony; Shepherd Krech, The Ecological Indian: Myth and History; Linda Hogan, The Sweet Breathing of Plants: Women Writing on the Green World; Tom Butler, ed., Wild Earth: Wild Ideas for a World Out of Balance; Roderick Frazier Nash, Wilderness and the American Mind, 4th Edition; Roger S. Gottlieb, ed. This Sacred Earth: Religion, Nature, Environment.
395-3crs-Four Green Fields: Irish/Irish-American Film (Prereq: ENLT 224 or 225 and ENLT 301. Writing course-Upper Division - NOT OPEN TO PREN MAJORS)
Section 1-MW-2:10-3:30p-Katie Kane
This course reads the canons of contemporary Irish and Irish-American cinema in order to analyze the performance and commodification in global media culture of qualities of "Irishness" and of Irish history. We will, for example, consider these films in order to understand, and often to challenge, the construction of Irish colonial history in what is essentially a Trans-Atlantic cinematic tradition. Moreover, the performative subjectivities of "hard men" and "plucky colleens" will be interrogated, as will the globally screened epoch known as "The Troubles." In addition to these concerns, the crossroads of race and ethnicity in America will be at stake in our interpretive work; as Diane Negra has argued, "Irishness is rapidly becoming the white ethnicity of choice [for Americans], a means of claiming an ethnic identity while maintaining the benefits of whiteness." We will ask questions about how this imaginative "ethnic refuge" functions in the larger discourse of race in the United States.
An opening section on the particular interpretive work required by visual narrative will begin the course. We will, in the first weeks of the class, be viewing clips of film classics and reading from the canons of film theory and criticism. Required Texts/Films: Clint Eastwood, et al. Mystic River, Million Dollar Baby; John Ford, et al. The Quiet Man; Paul Greengrass. Bloody Sunday; Neil Jordan. The Crying Game, In the Name of the Father; Martin McLoone. Irish Film: the Emergence of Contemporary Cinema; Martin Scorsese, et al. Gangs of New York; Jim Sheridan. In America, The Field. Course Packet: Diane Negra, "Consuming Ireland" and "The New Primitives"; Ted Allen, excerpts from The Invention of the White Race
398-1-12crs-Coop Education Experience (Prereq., Consent of Department)
Section 1-M-8:10-9:00a-Christopher Knight
420-3crs-History of Criticism & Theory (Prereq: ENLT 301 and 6 credits in literature courses numbered 300 or higher or consent of instructor)
Section 1-MWF 2:10-3:00p-J. Browning
To gain our bearings, we will begin by examining the modern historical bases of the concepts "criticism" and "theory," the key terms of this course's title. In addition to reading seminal works by I. A. Richards, Walter Benjamin, and Raymond Williams, we will discuss our own assumptions about criticism and theory, and consider recent debates about their definitions. Following this preliminary unit, we will conduct several forays into the history of critical theory, each devoted to tracing the career of a particular idea, theme, or connected grouping of the same. These may include: language, mimesis, and representation; inspiration and imagination; beauty, the sublime, and taste; the social roles of the poet; rivalries between art and other disciplines. Course work (beyond readings): one presentation and several short essays.
430-3crs-Contemporary Caribbean Literature (Prereq. ENLT 301 or consent of instructor; Writing Course for Upper Division - NOT OPEN TO PREN MAJORS)
Section 1-MWF-11:10-12:00p-Eric Reimer
Recognizing that the convergence of Europeans and West Indians from 1492 onwards entails not merely an encounter of peoples but also an encounter of discourses, this will be a course in what we might call "new world poetics." We'll begin the course by reading a series of early modern and Renaissance texts - Columbus' journals and Shakespeare's The Tempest - as a way of assessing European models of understanding the "New World," and considering how future identity possibilities for West Indians are in some sense scripted. We'll, at this point, be well positioned to move into various works of contemporary Caribbean poetry, fiction, and non-fiction, including Rhys's Wild Sargasso Sea, Walcott's Omeros, Selvon's The Lonely Londoners, Cliff's No Telephone to Heaven, Chamoiseau's Solibo Magnificent, Kincaid's A Small Place, and Danticat's The Farming of Bones. Examining these texts transhistorically as engagements with and responses to those early "scripts," we'll be considering responses to European imperialism from standpoints of different degrees of disengagement from it: indigenous, creole, cosmopolitan exile, etc. The various connotations of "beach reading" will circulate throughout the course; the phrase suggests, among other things, the tendency of early explorers to describe native identities and islands based on surfaces and coastlines, as well as the idea of the Caribbean today as a "brilliant vacuity," a locale for sunshine, sensuality, and umbrella drinks.
431-3crs-Senior Seminar in Literature (Prereq: ENLT 301 and 6 credits in literature courses numbered 300 or higher or consent of instructor)
Section 1-James Joyce-TR-9:40-11:00a-John Hunt
Advanced studies in literary figures and topics.
496-1-3crs-Independent Study-ARRANGE-(Prereq: Consent of Instructor and chair; junior or senior standing)
499-1-9crs-Honors Thesis-ARRANGE-(Prereq: Consent of Chair)
500-3crs-Intro to Graduate Studies (Can be taken in lieu of required seminars in English. Open to Majors in ENGL and class level of Graduate)
Section 1-R-1:10-4:00p-Brady Harrison
English 500, a course strongly recommended for entering MA students, MFAs considering an MA, and advanced undergraduates planning on graduate studies in English at the University of Montana or else- where, asks a basic question: What do you need to excel in an English graduate program? Part of the answer: expertise in research, proficiency in a variety of academic genres and skills, and a far-ranging and sophisticated understanding of critical theory. The course aims to deepen your abilities in these areas. To this end, English 500 consists of three components:
TEXTS (subject to revision): Jameson, Fredric. The Political Unconscious; Rivkin, Julie, and Michael Ryan. Literary Theory: An Anthology (2nd Ed.)
520-3crs-Seminar in British Literature (Open to graduate students in CRWR, ENGL, EVST, LING)
Section 2-Chaucer-M-3:40-6:30p-Ashby Kinch
In the two decades immediately following his death, Chaucer was represented by his peers and acolytes as the "father of English eloquence," marking a distinctive new origin for English literature and selecting for special attention Chaucer's status as the first major English poet in an evolving European vernacular literary tradition that included Jean de Meun, Dante, Petrarch, Boccaccio and Guillaume de Machaut. Chaucer constructed his own authorial persona more cautiously, signaling a deep ambivalence about his sense of his own importance: he clearly craved association with the great poets of the past, while nonetheless indulging in characteristic gestures of humble self-abasement and wary recalcitrance. This course will examine notions of authorial self-presentation in Chaucer's two major, though unfinished, collections of framed tales, both composed the final decade of his life: The Legend of Good Women and The Canterbury Tales. In thinking about Chaucer's relationship to his audience, we will explore the intersections and tensions between and among the readers who made up the audience for late 14th century vernacular writing: aristocratic patrons like John of Gaunt and Anne, Richard II's Queen; court officials and petty gentry like Henry Scogan and John Gower; and members of the emerging bureaucratic class like his younger disciple, Thomas Hoccleve. We will also, of course, dive into the rich nexus of theoretical, historical, and literary issues that emerge when reading an author as intellectually complex and poetically talented as Chaucer.
Students will enjoy a deep immersion in Chaucer's writing, including selections from The Legend of Good Women and much of The Canterbury Tales. Students will also get an opportunity to develop some depth of knowledge in an area of Chaucerian criticism and theory, which is a flourishing genre of its own. Course requirements will include: two seminar presentations; an annotated bibliography; and a seminar paper.
521-3crs-Seminar in American Literature (Open to graduate students in CRWR, ENLG,
EVST, LING, HIST)
Section 1-Imagining Sustainability-R--6:10-9:00p-Nancy Cook
In this seminar, we will look at various ways in which writers have imagined sustainable practices in various configurations of American culture(s). We'll survey some of the practices of North Americans before European colonization, and then look at some of the models proposed by colonials and then by writers during the early National period. We will look at dominant and dissenting voice through the 19th century, then settle in for a more extensive look at the 20th century voices in this debate. Along the way, we will consider how the concepts of subsistence, sustainability, agrarianism and unsustainability have changed over time, with help from literary, cultural and environmental critics-all addressing possibilities and probabilities in North America, especially in what is now the U.S. We'll read selections from Crevecoeur, Jefferson, Catlin, Cooper, Powell, Gilman, Garland, E.B. White, Wes Jackson, and others, as well as the following books (probably): McNickle, Wind from an Enemy Sky; Berry, The Art of the Commonplace; Callenbach, Ecotopia; Masumoto, Epitaph for a Peach; Butler, Parable of the Sower; Ozeki, All Over Creation; Buell, Writing for an Endangered World; Cronon, Changes in the Land; Knobloch, The Culture of Wilderness; Phillips, The Truth of Ecology; Wirzba, The Essential Agrarian Reader.
Section 2-The Literatures and Cultures of United States Imperialism-T-6:10-9:00p-Brady Harrison
ENLT 521 reads a limited number of exemplary short stories, novels, and films in the context of U.S. continental expansionism and overseas adventurism from the 1850s to the present. Building upon the work of such scholars and historians as Eduardo Galeano, Amy Greenberg, Michael Hardt, Kristin Hoganson, Robert May, John McClure, Antonio Negri, John Carlos Rowe, David Spurr, Edward Said, and others, we'll explore how American and non-American writers represent (and sound or laud or critique) the workings of U.S. economic, military, political, and cultural power both at home and abroad. Our working thesis: the energies of U.S. imperialism seek not only to increase American influence and hegemony abroad, but also work to organize and discipline life in the U.S. The course explores, therefore, fictions that variously dramatize American continental or overseas adventures, confront the toll of empire at home, or dissect the backlash of expansionist policies and wars on the nation. As the course progresses, in addition to studying the primary texts closely, we'll also consider a variety of cultural, critical, and historical perspectives on U.S. imperialism. A word of caution: many of these texts contain graphic representations of violence and raise questions about the nature of American (and Western) culture that some may find disturbing. Texts (subject to revision): Margaret Atwood, Oryx and Crake; Bao Ninh, The Sorrow of War; Richard Harding Davis, Soldiers of Fortune; Louise Erdrich, Love Medicine; Eduardo Galeano, Century of the Wind; Cormac McCarthy, Blood Meridian; D'Arcy McNickle, The Surrounded; Michael Moore (dir.), Bowling for Columbine; Toni Morrison, Beloved; Bharti Mukherjee, The Middleman and Other Stories; Philip Roth, American Pastoral; David Spurr, The Rhetoric of Empire; Robert Stone, Dog Soldiers; Harriet Beecher Stowe, Uncle Tom's Cabin; additional historical and critical readings.
522-3crs-Seminar in Comparative Literature (Open to graduate students in CRWR, ENGL, EVST, FLL, LING. Same as FLLG 522)
Section 1-Identity-T-3:40-6:30p-Phil Fandozzi
NOTE: The following description replaces the one that appears in the schedule of classes available in the English Department.
What is our identity? What factors influence it over a lifetime? How stable is it? Do we even know what our identity is? Are significant aspects of identity hidden from us, buried beneath time and memory? How do other individuals and events affect it? In this seminar, we will read and discuss several novels on the topic from a variety of contemporary authors who explore the complexities and mysteries of identity. Novels will be selected from such authors as Paul Auster, Milan Kundera, Manuel Puig, Marguerite Duras, Michael Ondaatje, Kazuo Ishiguro, and/or Kobo Abe.
Section 2-Modernistic Poetries-T-7:00-9:30p-Robert Baker
This course will be a broad, if far from comprehensive, survey of American modernist poetry. We will, on occasion, turn our attention to English, Irish, and French poetry as well. Our primary concern will be to work through a number of important adventures in a century-long tradition of modernist poetry. To be sure, the whole question of "periodizing" modernism remains open to debate, and different national traditions require different narratives. Yet, at least provisionally, we will work with a slightly wider frame than is usual in this context, taking modernism to begin in the second half of the nineteenth century, to become a "cultural dominant" in the occasionally hopeful yet largely catastrophic years of 1914-1945, and to come to an end in the early decades after WWII. Throughout the course, we will explore the different ways modernist poets respond to the unstable social worlds around them. We will also try to understand the different ways they engage a range of ambitions and predicaments they inherit from earlier romantic poets.
Provisional Sequence of Readings: Wordsworth, Browning, Baudelaire (poems for the 1st week of class); Walt Whitman, Leaves of Grass (The First (1855) Edition); Arthur Rimbaud, Illuminations and A Season in Hell; Gertrude Stein, Tender Buttons; Andre Breton, Selected Poems and Manifestoes of Surrealism; T. S. Eliot, The Collected Poems; William Carlos Williams, Imaginations; Marianne Moore, The Complete Poems; W.B. Yeats, The Collected Poems; H.D., Trilogy; Wallace Stevens, The Palm at the End of the Mind; George Oppen, New Collected Poems; Christopher Butler, Early Modernism, or Octavio Paz, Children of the Mire; Course Packet (including poems and essays).
596-1-9crs-Graduate Independent Study (Prereq: Consent of Instructor and Chair)
598-1-9crs-Cooperative Education Experience (Prereq: Consent of Department)
599-1-6crs--Thesis
398-1-3crs-Cooperative Education Experience (Prereq., consent of department)
Section 1-M-8:10-9:00a-Beverly Chin
439-3crs-Studies in Young Adult Literature
Section 1-M-4:10-7:00a-Beverly Chin
This course is designed for beginning English language arts teachers, library media specialists, reading specialists, and other individuals interested in middle-school and high school literature. Through this course, beginning teachers will gain knowledge and appreciation of young adult literature. We will read representative texts, covering the history, genres, authors, and themes of literature for students in the middle school and high school. We will engage in literature circles, book talks, and large and small group discussions as we respond to and reflect upon our reading.
440-3crs-Teaching Writing (Prereq: C&I 303, Senior Standing and Consent of Instructor)
Section 1-TR-3:40-5:00p-Staff
Emphasis on teaching writing and reading in grades 5-12. Research about development and maturity of readers/writers, strategies for teaching writing and reading in all content areas, criteria for evaluating writing/reading, peer-coaching methods, writing/reading workshops, assignment characteristics, and grading practices. Required of students pursuing secondary teaching certificates.
441-3crs-Teaching Reading and Literature (Prereq: ENT 439, Admission to Teacher Education and Consent of Instructor)
Section 1-TR-9:40-11:00a-Beverly Chin
Emphasis on various approaches to teaching literature: generic, thematic, chronological and interdisciplinary. Includes techniques for developing evaluative, interpretive, perceptive, and personal responses to prose, poetry, film and other media. Explores student-centered curriculum, with emphasis on developmental abilities in reading, speaking, listening and viewing. Special emphasis on language and language development. Teaching majors and minors in areas other than English should enroll in ENT 440.
442-3crs-Teaching Oral Language and Media Literacy (Prereq: ENLT/LING 465,admission to Teacher Education and consent of instructor)
Section 1-TR-12:40-200p-Staff
This course is designed for individuals who are interested in teaching the language arts of speaking, listening, and viewing. The course focuses on the theory, research, and pedagogy of oral language and media literacy as well as lesson design and curriculum issues in the English language arts. Using best classroom practices and recent research from professional associations, such as the National Council of Teachers of English and the International Reading Association, beginning teachers learn to teach oral language (speaking and listening skills) and media literacy in grades 5-12. Students experience the language arts through workshop activities, readers' theater, creative drama, cooperative learning groups, role playing, media, technology, and other speaking/listening/viewing methods.
ENLI 465/LING 465 (Prereq: Structure and History of English for Teachers)
496-1-3crs-Independent Study (Consent of instructor and Department Chair)
543--3crs-Adv. Tchg. Strat. for Young Adult Lit. (Prereq: Teaching experience or senior standing (3.0 GPA and petition) with consent of instructor)
Section 1-T-5:10-8:00p-Beverly Chin
Young adult literature is a rapidly growing field. This course provides teachers and librarians an overview of the history, genres, authors, and themes in young adult literature. Emphasis is placed upon extensive reading in and methods of teaching young adult literature. Teachers and librarians will participate in creative drama activities, create a thematic unit, and write a selection rationale for a novel.
593-1-4crs-Professional Paper (Consent of instructor)
596-1-9crs-Graduate Independent Study (Consent of instructor)
598-1-3crs-Cooperative Education Experience (Prereq., consent of department)
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